Eccentric Laughter explores new ways to watch postwar British film comedies, arguing that their representations of eccentricity offered a set of possible queer futures for a Britain that had been destabilized by years of conflict and social upheaval. Far from being the apolitical cinema described by previous critics, these comedies—including both perennial favorites from Ealing Studios and neglected films ripe for rediscovery—make a joke of and suggest alternatives to the heterocentric home and family. Referencing a wide range of theories, the book gives details of how these films' comic queernesses are not structured on fixed identities but on an open play of possibilities, depicting eccentricity, artifice, drag, ruins, and the wild in ways that can still offer inspiration for experiments in living today. Engaging with contemporary queer theories and politics, the book argues that these films continue to address questions of urgent relevance to students and other viewers in the twenty-first century. Films discussed include The Belles of St. Trinian's, Genevieve, The Lavender Hill Mob, Simon and Laura, The Stranger Left No Card, and Young Wives' Tale.

Set in the hottest summer Durban has ever known, this debut novel follows six quirky characters as they muddle their way through life.

A guide to all things wacky, weird, curious, and bizarre in the U.S.A., featuring approximately 1,000 festivals, attractions, tours, shopping, restaurants, hotels, and eccentric environments. photos. 51 maps.

George Orwell and the Radical Eccentrics celebrates the lives, literature, and politics of a group of four 'radical eccentrics' - the Tory anarchist poet Stevie Smith, the Marxist Indian nationalist Mulk Raj Anand, and the glamour-girl-turned-socialist Inez Holden - who formed a friendly circle around the famously radical and eccentric George Orwell. Demonstrating that Smith, Anand, and Holden matter for literary history just as they mattered for Orwell, George Orwell and the Radical Eccentrics gives name and shape to a neglected movement within interwar and wartime English writing. It focuses on the lives and texts of Smith, Anand, and Holden in order to argue that these three writers throw into question limiting assumptions about art and politics-about standard relations between literary form and sex, gender, race, class, and empire-in ways that their group's most influential radical, Orwell, cannot. Embarking upon a kind of biographical-political-cultural-literary criticism, this book brings the radical eccentrics' vital, potentially transformative conversation to the attention of scholars of English literature for the first time, suggesting fascinating new approaches to the study of literary London during the thirties and forties.

In this pathbreaking book, one of Britain s most eloquent and original thinkers writes about the head, what happens in it, and how it is and is not connected to our sense of identity and consciousness. Blending science, philosophy, and humor, Raymond Tallis examines the extraordinarily complex relationship we have with our heads. His aim, as he says, is to turn readers into astonished tourists of the piece of the world that is closest to them, so they never again take for granted the head that looks at them from the mirror. Readers will delight that this is precisely what he accomplishes. The voyage begins with a meditation on the self-portrait of a mirror image, followed by a consideration of the head s various secretions. Tallis contemplates the air we exhale; the subtle meanings of nods, winks, and smiles; the mysteries of hearing, taste, and smell. He discusses the metaphysics of the gaze, the meaning of kissing, and the processes by which the head comes to understand the world. Along the way he offers intriguing digressions on such notions as having and using one s head, and enjoying and suffering it. Tallis concludes with his thoughts on the very thing the reader s head has been doing throughout the book: thinking.

The single woman is mistakenly seen to be a product of the twentieth century. Drawing on figures as diverse as Joan of Arc, Elizabeth I, and the Amazons, Gordon brings to light a powerful tradition of single womanhood and calls the "marginality" of single women into question.